This series of work depicts a time in the artist's life as a new mother, highlighting the countless tiresome domestic tasks performed during this period. "Domestic Economy" is a pun on the exchange of unpaid domestic duties inside the home, such as laundry and preparing family dinners, with her partner's paid work outside the home. The piece "Molting" embodies the artist's significant hair loss during the postpartum period, reflecting not only the physical shedding but also the emotional sense of losing herself in the process of becoming a new mother. "Diaper Change Tally" meticulously documents the countless diapers changed during the postpartum period, vividly depicting the exhaustive efforts of nurturing as a new mother—an experience often marked by an overwhelming sense of responsibility for a tiny, dependent human being.
Relational Sustainability
2014
Interactive installation
"Relational Sustainability" stands as an interactive installation that invites gallery visitors to actively engage with the immediate ecosystem. Participants are encouraged to assume a role within this interconnected environment by sending a tweet via social media platform, Twitter. Each tweet, in a captivating symbiosis, triggers a pump that delivers water to nourish the plants, altering their fate from drought to vitality. This innovative connection, from the digital realm of clouds to the atmospheric dynamics governing our weather, underscores the intricate relationship between data and water molecules.
At its core, the installation delves into the profound intersection of weather patterns and human intentionality in addressing pressing anthropogenic issues, notably drought. The project is deeply rooted in the concept of intervention, exploring how our deliberate actions can influence and remediate environmental challenges. It serves as an experimental exploration of the intricate relationship we share with our surroundings, wherein artificial systems collaborate with natural ones, reflecting the nuanced interplay between human consciousness and technology.
"Relational Sustainability" challenges visitors to reflect on the ways in which our intentional use of technology can harmonize with and support the natural world. It becomes a tangible expression of our collective responsibility to foster sustainability, emphasizing the potential for positive impact when artificial and natural systems collaborate in thoughtful harmony.
Artificially Native
2014
Public installation
This installation delves into the theme of drought within the cultural context of the borderland region. The centerpiece of the piece features tumbleweed, painted in vibrant and festive "Day of the Dead" Mexican colors, juxtaposed against the backdrop of dry riverbank vegetation. This symbolic representation serves as an allegory, drawing parallels between the artificial and natural processes of cultural assimilation occurring on both sides of the U.S.-Mexico border.
The choice of the tumbleweed, traditionally associated with arid landscapes and migration, takes on a nuanced significance. By infusing it with the lively hues of "Day of the Dead" festivities, the artist skillfully blends cultural symbolism with the harsh reality of drought. The juxtaposition of vibrant colors against the backdrop of parched riverbank vegetation becomes a visual metaphor, inviting contemplation on the complexities of assimilation and the interplay between cultural celebration and environmental challenges.
In essence, the installation prompts viewers to reflect on the intricate relationship between cultural identity and the environment, underscoring the resilience and adaptability inherent in the face of both natural and cultural shifts in the borderland region.
Waiting for Rain
2014
environmental installation / gallery installation
This art project involves the extraction of raw clay slakes from the dry riverbed of the southern Rio Grande river. Following the extraction, the clay undergoes a meticulous processing stage, eventually being molded into vessels. In a symbolic and cyclical gesture, these clay vessels are then returned to the same dry riverbed from which they originated. Positioned in the arid landscape, the vessels assume the role of patient sentinels, "waiting for rain" to quench the parched region.
The act of placing the clay vessels back in their source of origin becomes a poignant and poetic offering. The vessels, shaped from the very earth they now rest upon, serve as a visual and conceptual bridge between human artistry and the natural world. The symbolic act of waiting for rain imbues the installation with a sense of hope, resilience, and interconnectedness, suggesting a harmonious reciprocity between human creativity and the elemental forces that govern the environment.
In this way, the project not only showcases the artist's engagement with the landscape but also invites contemplation on the profound relationship between human intervention, the cycles of nature, and the inherent poetry found in the delicate balance between the two.
I Didn't Cross the Border, the Border Crossed Me (Paper Borders)
2014
paper map sculpture installation
The paper map airplanes in this artistic presentation serve as a satirical commentary on the border region along the Rio Grande River, which separates the United States and Mexico. Crafted from maps delineating the U.S.-Mexican border, these paper airplanes take on a symbolic role, offering a whimsical yet pointed perspective on the efforts to establish rigid divides between the two neighboring nations.
In playfully transforming maps—tools traditionally associated with navigation and delineation—into delicate paper airplanes, the artist cleverly underscores the fragility and impermanence of man-made borders. The use of this medium implies a certain lightness and transience, challenging the gravity often associated with geopolitical boundaries. The satirical nature of the artwork invites viewers to contemplate the inherent complexities and absurdities in the attempt to construct barriers within the shared geography of the United States and Mexico.
River Walk
2014
installation
"River Walk" encapsulates a recording and collection of discoveries made during the artist's walks along the dry riverbed of the Rio Grande. These journeys unfold as she travels southbound from Texas toward Mexico, ultimately reaching her birthplace. The project becomes a thoughtful documentation of the artist's experiences and observations along this meaningful and introspective journey.
The dry riverbed serves as a symbolic and tangible pathway, mirroring the artist's physical and emotional exploration as she retraces her steps toward her place of origin. The act of walking becomes a contemplative process, capturing the essence of the environment and the artist's connection to it. The collection of findings, gathered during these walks, likely encompasses a diverse array of elements, such as natural materials, artifacts, or even ephemeral moments that speak to the unique character of the region.
"River Walk" is not just a physical journey but also a narrative that unfolds through the artist's lens. It may serve as a visual and emotional documentation of the landscape, reflecting the artist's personal connection to the Rio Grande and the layered significance of returning to one's birthplace.
Memory of Water
2013
interactive installation
This interactive piece invites the viewer to actively participate in the artwork by painting the missing water onto the image of the Rio Grande River. The medium for this engagement is dry clay tiles crafted from clay harvested from the river itself. Using a brush, participants are encouraged to apply water directly onto these tiles, determining the amount needed to complete or enhance the river scene based on their personal interpretation.
This interactive approach transforms the viewer from a passive observer into an active contributor to the artwork's evolution. By allowing participants to control the amount of water applied, the piece introduces an element of subjectivity, encouraging diverse perspectives on the representation of the Rio Grande River. The use of clay tiles, sourced directly from the river, further connects the materiality of the artwork to the natural environment it seeks to represent.
The act of painting the missing water becomes a metaphorical and physical gesture, emphasizing the viewer's agency in addressing environmental concerns. It prompts contemplation on the role individuals play in the preservation and restoration of natural resources, highlighting the tangible impact of collective actions on the representation of the Rio Grande River in the artwork.